‘Henry, come on’ Single Review: Ethereal Vulnerability

Within one week of its release, Lana Del Rey’s newest single “Henry, come on” garnered over 3.36 million streams and debuted at no. 16 on the Global Spotify chart. Often lauded for her nostalgic appeal, Del Rey has cultivated a distinctive mixture of Old Hollywood glamor and retro country aesthetics since the early 2010s through popular releases like “Young and Beautiful,” “Summertime Sadness,” and “Blue Jeans.” In this new country ballad, Del Rey softens her mature image into something quieter and more vulnerable, allowing emotion to strengthen her vocals rather than distract from them.

If Del Rey’s voice had a color, it would be cinnamon brown. Warmth suffuses each of her lyrics, even if they are about heartbreak and abandonment. The gentle exasperation in the ballad’s opening lines, “I mean, Henry come on,” immediately draws listeners into a relationship that is affectionate but doomed, as Del Rey mourns that her lover is not the “settle-down type.” Her voice moves fluidly from a rich contralto into a higher register, with a vibrato that is delicate but not tremulous — this transition to her mezzo-soprano range reminds listeners that Del Rey is an 11-time Grammy-nominated singer.

The lyrics of “Henry, come on,” are simple but effective. The line claiming that God has destined Del Rey “To hold the hand of the man / Who flies too close to the sun” is a clever nod to the legend of Icarus and the double-edged nature of ambition. Although Del Rey’s references to cowgirls and blue jeans are somewhat generic, moments of brilliant lyricism elevate “Henry, come on” into a single that is both enjoyable and meaningful.

Strings add a classic touch to the ballad. Cellos complement Del Rey’s voice and emphasize particular lines, such as “I’ll still be nice to your mom / It’s not her fault you’re leaving.” Violins support Del Rey during the pre chorus, adding emotional weight during the build up to her devastating line: “And it’s not because of you / That I turned out so dangerous.”

“Henry, come on” is so classic, it sometimes veers into eerily familiar territory. The chorus and orchestra breaks in the ballad are very reminiscent of the lines “We clawed, we chained our hearts in vain / We jumped, never asking why” from Miley Cyrus’ “Wrecking Ball.” The balance of nostalgia and banality ultimately lands in Del Rey’s favor, but creators on YouTube have noticed the similarities and even posted “Henry, come on” x “Wrecking Ball” mashups.

In spite of the conventional melodies, there is an element of “Henry, come on” that truly stands out. Namely, Del Rey shines in the brief moments when she speaks instead of sings, like when she whispers “they just fly away” as if she’s on the phone very late at night, telling her closest friend a heartbreaking memory. Del Rey excels at creating a deeply personal, confessional tone in her music, and nowhere is this ability stronger than in “Henry, come on.”

Ultimately, Del Rey’s newest single is an ethereal triumph, embracing both trembling vulnerability and a mature sense of disillusionment. In some secret vault of Tumblr that is still active, black-and-white photos of women with flowers in their hair are just waiting for the italicized lyrics of “Henry, come on” to grace them.

—Staff writer Laura B. Martens can be reached at laura.martens@thecrimson.com.